This is one of many stills from the film which I also have in my collection. It does surprise me that although the film is in 'glorious Technicolor' there were so many Black and White Stills even though there were also a number of the colour stills. They are, though, wonderful shots. This scene shows also the attention to detail as well as the grandeur of Carmen Dillon sets and possibly Peter Ellenshaw may have matted in a part of this.
As I look carefully at the still I am inclined to think that the pillar in the foreground as you say is Peter Ellenshaw's matte work and I have a feeling this also extends to the slabs that form the floor of the castle closer to the camera. As one well-known Film Maker said 'With Peter Ellenshaw's work it is impossible to see where reality meets the painted matte' Couple this with Carmen Dillon's set design, a top quality director and camera man, plus a great cast and wonderful colour and you have a classic film with a wonderful feel about it. It is difficult to think of such a cocktail of different talent being merged together with such success anywhere else in the movies.
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The Great Hall, Nottingham Castle
Walt Disney's Story of Robin Hood
Picture Gallery
This is one of many stills from the film which I also have in my collection. It does surprise me that although the film is in 'glorious Technicolor' there were so many Black and White Stills even though there were also a number of the colour stills. They are, though, wonderful shots. This scene shows also the attention to detail as well as the grandeur of Carmen Dillon sets and possibly Peter Ellenshaw may have matted in a part
of this.
I agree Neil, this is a very atmospheric shot. Once again showing the quality that seems to ooze from every frame.
It does seem that Peter Ellenshaw matted the pillar in the foreground giving the scene extra depth as the Royal family approaches.
As I look carefully at the still I am inclined to think that the pillar in the foreground as you say is Peter Ellenshaw's matte work and I have a feeling this also extends to the slabs that form the floor of the castle closer to the camera. As one well-known Film Maker said 'With Peter Ellenshaw's work it is impossible to see where reality meets the painted matte'
Couple this with Carmen Dillon's set design, a top quality director and camera man, plus a great cast and wonderful colour and you have a classic film with a wonderful feel about it. It is difficult to think of such a cocktail of different talent being merged together with such success anywhere else in the movies.
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